This film was seen as part of the Virgin Media Dublin International Film Festival 2020. Given the high volumes of films being shown and the number of reviews to be written, these may end up being a bit shorter than usual reviews.
Onward fits comfortably in the upper middle range of the Pixar canon.
To be fair, at least part of this is structural. Onward is transparently a road trip adventure. There have been a couple of truly great Pixar movies built around that rough template – Toy Story 2, Up and Inside Out all come to mind. However, Onward does little to disguise its genre elements. Onward is transparently a story about two teenagers who embark on a long journey with a tight schedule that takes them through a series of episodic adventures featuring a host of memorable side characters. There is something very standard about the premise, even against the film’s fantastical backdrop.

To be fair, at least some of that mundanity is intentional. After all, the central hook of Onward is that it unfolds in a magic kingdom (“Mushroomton”) that has eschewed the art of wizardry for the utility of science. So much of Onward derives from the juxtaposition of the mundane and the sublime that it makes sense that the film should be a fairly standard genre template that just happens to follow two magical creatures driving a van with a rock-album-artwork unicorn on the side on a mission to reunite with their resurrected father. However, the plotting is a little too haphazard and too episodic to completely elevate the film.
That said, Onward is consistently charming throughout. Its world and characters always feel well-drawn. More than that, the film coheres marvellously in its third act, when it pushes past that familiar road movie template into the more emotionally astute and mature sort of storytelling that audiences have come to expect from the studio. While Onward doesn’t rank among the studio’s very best, it is well worth seeking out.

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